![]() ![]() ![]() In chapter two he covers the semiotics of comics: icons, symbols, non-pictorial icons (alphabet, numbers, math and music symbols), pictures, words, abstraction, simplification and universality (the more cartoon-like a face is drawn the more people it can be said to describe), identity and awareness, experiences (everything we experience in life can be divided into two categories: the realm of the concept and the realm of the senses). The invention of printing was a big influence and various picture stories emerged: A Harlot’s Progress by William Hogarth. He also references the Bayeux tapestry in France which is a 230 feet tapestry detailing the Norman conquest of England in 1066, as well as the Egyptian tomb of “Menna”. McCloud begins his narrative with the history of comics which he traces back to a pre-Columbian picture manuscript which was discovered by Cortes in 1519. ![]() Now if that definition isn’t applicable to the visual art of photography, then I’ll eat my hat. The definition of the noun “comics” is “juxtaposed pictorial and other images in deliberate sequence, intended to convey information and/or to produce an aesthetic response in the viewer” (McCloud, 1994: 9). The contents – for the most part – are applicable in most of the visual art. ![]() Yes, I know … “a review on a book about comics?” is what you’re thinking right now. ![]()
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